“What is This Thing Called Love?” as Conceptualized by Nine Jazz Pianists

Abstract

Studies about jazz piano often discuss the defining performers, improvisation techniques, composers, songs, and stylistic underpinnings of various jazz eras. This article aims to enhance these studies by offering a different angle from which to view this topic. By limiting this article to how jazz pianists of different eras approached one particular standard— Cole Porter's “What is This Thing Called Love?”— I aim to highlight the diversity of approaches taken by different jazz pianists as they built upon the traditions of their art form. Through this model of analysis, an understanding of both the differences between the artists' approaches, and the underlying common language of the jazz piano art form emerge concurrently. Also, similar to the narrative-like structures heard in many of these solos, a larger historical artistic narrative created by these performers over the past eighty years becomes apparent. The jazz pianists whom I discuss are Teddy Wilson, Art Tatum, Bud Powell, Erroll Garner, Marian McPartland, Ahmad Jamal, Bill Evans, Keith Jarrett, and Richie Beirach. A large number of jazz standards were considered as the basis of this study, but “What is This Thing Called Love?” was chosen because jazz pianists with such a wide range of approaches have recorded it, and these particular approaches lent themselves well to the aims of this article.